Lauren Davis

Well, we've settled into the second week of Orphan Black, although "settled" isn't really the right word. Although this week's episode doesn't have quite the frenetic, con-a-moment pacing of the pilot, everything is still crazy (and crazy fun to watch) in Sarah's life as she tries to retrieve Beth's money and assure her daughter that mommy isn't really dead. But all that takes a back seat when more clones start popping up, including one who's none too please to meet a new member of their sorority. Spoilers ahead.

Sarah has just answered Beth's phone after Katja, her German clone, was shot in Beth's car. It's another clone, who greets Sarah's recap with, "Oh shit, it's true! Someone is trying to kill us!" She mentions a briefcase Beth was supposed to get from Katja and tells Sarah/Beth to get rid of the body. When Sarah asks how, the girl says, "I don't know. You're the cop. Buy a shovel." Yeah, I somehow think Beth was the brains of this operation. She does, however, remind Sarah/Beth to get Katja's hair and blood samples before burying her.

Sarah does, indeed, buy a shovel. She also, in true Sarah fashion, snags Katja's wallet and hotel key before burying her in a shallow grave.

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After Sarah's wake for her fake death, a grieving Vic tells Felix that he wants to meet Kira (whom he refers to as "Sarah's daughter." Does that mean she's not Vic's?). Felix tries to dissuade him, telling him, "Kira is not Sarah." Vic finally vacates the premises and nearly runs into Sarah in the hallway. (Sarah and Felix really need some kind of signal—a kimono hung outside the window? A simple text message?) Despite her close encounter with death (and near brush with Vic), Sarah is riding high. After all, she's got the money she needs to take Kira away…or so she thinks. She peeks inside her money pouch and all that's there is a binder on the Maggie Chen shooting and Art's card. Sarah throws a violent tantrum, breaking some of Felix's stuff, but when she turns toward a painting, he commands her to stop, telling her he's still working on it. It's a moment that offers some nice insight into their relationship; Felix puts up with Sarah's temper, but she knows when he really means "stop."

Sarah returns to Beth's apartment, where Beth's boyfriend Paul is upset she's been out all night. Sarah briefly slips up when Paul tells her she's been dressing "like a punk rock ho," but she quickly slips back into controlled Beth-mode. Paul isn't liking any of this, and tells her he's "going back to Cody's for a while." So, Paul and Beth have split before (no surprise there), and for all the suffering Beth has put him through, maybe he's not such a nice guy. Sarah, figuring this is just one complication removed, tries not to look too pleased when tells him to go if that's what he feels he needs.

The next day, Felix visits Mrs. S and Kira. Mrs. S treats Felix like she's accustomed to being disappointed in him (though she aims a motherly "Don't slouch" at him). She's none too fond of Sarah, though; upon learning Sarah is still alive, Mrs. S quips, "I knew it was too good to be true." She mentions that she left London with Sarah and Felix to give them "a fresh start" in North America and alludes to their troubled childhood, filled with police visits, missing persons reports, and physical fighting. But it was all worth it, she says, "because Kira is a gift." And she has no intention of giving the gift of Kira back to Sarah.

Beth rehearses everything in the Maggie Chen file before meeting up with Art, making sure she knows the official record of the shooting cold. But Art wonders if the money in Beth's bank account was a payoff (and clearly we're meant to wonder the same thing), and he refuses to return the money until she's cleared for the shooting. As they review her statement, Art reveals the truth: Beth was a drug addict (again, not surprising given the pharmacy she had in her medicine cabinet), and after shooting Maggie Chen (a civilian she claimed to have mistaken for a wanted criminal named Xan Yip) she called Art before calling the shooting in to her precinct. It was Art who placed a cell phone in Maggie Chen's hand, giving her an object Beth could have plausibly mistaken for a gun. Art is nervous that Beth will crack under pressure and reveal his part in staging the crime scene.

Sarah gets another call on the clone phone and this time, the voice on the other end orders her to Katja's hotel to retrieve her briefcase. Sarah goes, perhaps out of curiosity, perhaps in the hope that there's money in the briefcase. Or maybe she just can't resist an opportunity to test out her con woman skills. But Katja's room has already been ransacked. Bizarrely, a headless, cigarette burned Barbie doll sits on what appears to be an open Bible. A passage is marked in red and labeled "TRUTH." What appears to be snips of Katja's red hair is everywhere. This has not gone unnoticed by the hotel staff, who summon her to the lobby and hand her an itemized bill. We get another wonderful, funny bit of Sarah bluffing her way through the conversation. She writes off the damage by flashing devil horns and saying, in her best German accent, "Rock and roll," then desperately prays the hotel has Katja's card on file. Miracle of miracles, the charge goes through and the front desk has Katja's briefcase.

There's no money in the briefcase, just vials of blood and more paperwork on people who share Sarah's face. She also finds a local address tucked inside for a woman named Alison, a woman whose birth certificate was in Beth's safety deposit box. The woman on the phone calls again, but eventually, Sarah gets sick of play-acting. She reverts to her English accent, calls the woman "Alison," and asks if she wants her to bring the briefcase to her. The woman on the phone says something Katja said to Sarah last episode, "If I'm not family to you, what am I?" Sarah doesn't know the proper reply, and the woman hangs up.

Sarah drives to Alison's suburban house and is horrified to learn that her newest doppelgänger is a soccer mom. Alison is actually pretty hilarious, a tightly wound perfectionist who looks like she might just stab Sarah with the same knife she used to cut the soccer team's orange slices. When Sarah reveals that Beth killed herself, Alison keeps saying that it's not true, not because she doesn't believe it, but because she doesn't want to. She seems like a woman functions best when everything is in its ordered place, when there's a plan, and Sarah is a piece of chaos she does not like one bit. She's too flustered to deliver exposition; she tells Sarah to get away from her and wait for a call.

This is too much weirdness for Sarah. She figures it's time to try to get the money back and vacate the city with Kira and Felix in tow. She makes Art set up another appointment with her psychiatrist and then, in the show's most artful con, blackmails the good doctor into declaring her fit for duty. She then aces the hearing, hoping that, in a few days, Beth will be cleared of the shooting and Art will return Beth's money.

Sarah gets a call from Alison—who, holy God, has a wrapping room! I love her. She gives Sarah very specific instructions as to how they will meet that night. Felix and Sarah drive to Alison's house. Alison lets her inside, but she's carrying a gun and threatens to shoot Sarah if she wakes her kids or shows her face upstairs. "Well I've never known a blood relation," Sarah tells her. "But being your twin certainly sucks."

"You really have no idea, do you?" Alison sneers. Then, behind door number two emerges clone number five. "Hey, I'm Cosima. We talked on the phone."

Hi, Cosima!

And Sarah finally asks the question she should have been asking all along: "How many of us are there?"